David Mamet gives me great heart. When I ask myself, 'I don't know if I can do this again,' Mamet would say, 'Oh yes, you can.'
David Mamet was great to work with. He was everything that I thought he would be as a director. He's incredibly articulate, an easy collaborator. Extraordinarily knowledgeable about film and writing.
I so find Harold Pinter and David Mamet's writing to be exciting, and obviously there aren't that many female - at least with Mamet, there aren't that many good female roles. But I always thought it would be interesting to play one of the guy roles.
Any time you get to do a David Mamet play, it's a great opportunity. His writing is such that I think it's a big challenge, but when you get it right, it's a great opportunity to play every night, really.
David Mamet we all know is a great screenplay writer and playwright and a great director. If you like him, you like him. If you hate him, you really hate him. He's someone who's into controversy, you know what I mean? That's David Mamet.
David Mamet, Tim Kazurinsky, and Denise DeClue, who adapted [ About Last Night]. Between the three of them... I mean, it's always down to the writing. You're only as good as your writing.
You've never seen anything until you've seen David Mamet be an Edwardian lady. He always conveys what he means, but he's so... masculine.
[David] Mamet's the writer I admire most but he's way off from when he tries to talk about what the moral appeal of liberal thought is. His heart is not in it.
Some actors are brilliant in David Mamet, but they would crash and burn in my plays and visa-versa. You either have my music in your body, or you don't.
David Mamet's writing is pretty spectacular, obviously. I like the honesty of it; I like how funny it is and how sad it is.
[David] Mamet is another hypocrite. His idea of Black man is a pimp who abuses women, [Edmond], yet his play Oleanna [1994] ends with a White professor slapping an uppity feminist, at least the version I saw at San Francisco's ACT.
The conventional wisdom with David Mamet is, you do not change a word. And that agrees with me. If you want to change any of David's words, it's like wanting to change the iambic pentameter in Shakespeare - you should do something else.
Bill Pullman is older than Aaron Eckhart - although I was older too - and the age difference changes the play. My perspective on those issues had changed a lot. Without going into nerdy details about that play, there was something that still stuck with me. I still had the same joy in that dialogue and David Mamet's rhythm in terms of his writing. I felt like there was still something to explore.
For the record, if you're not a stage actor, climbing onto Broadway and tackling something like David Mamet is not an easy thing to do.
I studied acting in NYU's graduate program, in which we covered everything from Ibsen and Chekov to August Wilson and David Mamet.
There's nobody who loves being around actors working more than David Mamet, especially actors bringing his tremendous dialogue to life. I've never seen a movie director who was happier to be directing a movie than Dave.